Author: weronika.wrzosek

“Our relationship with the underwater environment is fundamentally defined by how alien it is, an uninhabitable medium, which we can access through active imagination and immersion. “
[ paper: Understanding Underwater: the Art and Science of Interpreting Whale Sounds.
By Yolande Harris]
http://www.interferencejournal.org/understanding-underwater/

Except for sailor’s tales of deep-sea monsters, the underwater environment has been considered as a silent place. The assumption that the sea is silent, comes from the limitations of human hearing. The vastness, complexity and fractional knowledge we have of ocean ecologies suggests that we need to change this attitude to find sustainable solutions. The relationship between biological sound and anthropogenic technological sound is not just a theoretical distinction. It is central to our understanding and hearing underwater, and so is built into the history of human relationships with underwater environments. 

Research on underwater sound is intimately bound up with the story of the whale. These underwater mammals are known to use sound in a very sophisticated manner.

“Underwater soundscapes are dynamic, they vary in space and time” 

[paper: “Exploring the Ocean Through Soundscapes”]
https://acousticstoday.org/wp-content/uploads/2018/03/Exploring-the-Ocean-Through-Soundscapes.pdf

Blue, fin, sei, Bryde’s and humpback whales all communicate within the 10- to 200-Hz frequency spectrum. Infrasound from waves crashing onshore (that marine animals likely use for orientation) is also in this band. Understanding how marine life uses this frequency band and the effects of human contributions in this same frequency band is the subject of many soundscape studies.

Shipping activities have caused a 10- to 12-dB increase in the 20- to 40-Hz band between 1965 and 2003. Moreover, endeavors such as oil and gas exploration, as well as the development of renewable energy sources, have contributed to an overall escalation in sound levels within this band. It is likely that biotic sound levels have also surged due to the recovery of whale populations and the “Lombard effect.” This phenomenon, observed in both humans and various animal species, involves an increase in vocalization amplitude to offset higher levels of ambient noise. Consequently, the Lombard effect may be a contributing factor to the escalating levels of low-frequency sounds as animals vocalize more loudly to overcome background noise.

References:

1. Paper: Understanding Underwater: the Art and Science of Interpreting Whale Sounds.
   By Yolande Harris
2. Paper: Exploring the Ocean Through Soundscapes
   By Jennifer L. Miksis-Olds, Bruce Martin, Peter L. Tyack

Baby whale is a size of the bus. When you look into anatomy of the whales you need to look on top of their head, because their nose is on the top of their head and they breathe through that. Not all of the whales have two nostrils. Dolphins (considered as a small whale) has only one nostril on the top of their head. The sound coming from the dolphin resembles farting. There is also a pulsed sound = echolocation (sonar). What they actually do is called echolocation, which is making these series of pulses and it uses it like a bat uses sonar (in case of bat radar, but underwater it’s sonar). So these animals use sonar to see its world in sound. Trying to understand how it works you have to look at it as f you were looking at the amplifier speakers of a sound system. The small-toothed whales are basically the “tweeters” and the sound is coming from that little nose that’s moving back and forth and coming put of their forehead. When you look at the big whales they are kind of like the “woofers”, the big speakers that you have in an amplifier system. Their sound is coming out of the throat.

The sound is modified in a junk organ. The final sound is incredibly loud. Sperm whale can click about 236 dB (human ear drums burst at 150 dB, our pain threshold 110 dB’s). It is considered by the loudest noise any animal can make. The males produce sound called – the clang, which a very, very loud, very intense sound. Sperm whales have many patterns of clicks that make up their complex language. The most common are:
– clicks used for longe-range echolocation, like sonar
– close range creaks when prey capture is coming
– “Codas” are distinct patterns of clicks most often heard when whales are socialising [sound of morse code]

– They can hear each other in the ocean from hundreds/ thousands miles away. Some researcher believes that they can keep in touch with each other through these clicks on other sides of the planet.
– The clicks are so powerful that can destroy human eardrum and vibrate human body to death. So hanging out with whales in the water is a bit sketchy
– They use clicks not only for ecosystem but also communication and their language might be more sophisticated than humans
– The sperm whale’s brain is six times a size of ours
– They also have a neocortex. In humans the neocortex is connected to carry higher functions like conscious thought, future planning and language. The sperm whale’s neocortex is six times the size of ours.
– They also have spindle cells (long and highly developed brain structures that neurologist associates with compassion, love, suffering and speech. Spindle cells make humans to be different from apes. Sperm whales have them in a far larger quantity than humans and had them for 15 million years longer than we have.

References:
1. https://anatomypubs.onlinelibrary.wiley.com/doi/epdf/10.1002/ar.20541
2. https://www.fisheries.noaa.gov/species/sperm-whale
3. https://www.orcaireland.org/deep-diving-adaptations-in-the-sperm-whale

I discovered a few sound artists which helped me to understand a topic of noise pollution in the ocean:

1) Jana Winderen
“Hopefully I will leave less stuff on the planet when I leave”. She talks about bringing the experience,  instead of owning objects. The sounds are stressing us on a subconscious level. The sounds are poured into the water as well without knowing. 

Storytelling, layers, sections, travels.
First layer: describes larger areas with lower frequency and greater scope,
Another layer: going a bit closer
Third layer: focuses on deatails
Experience of swimming and being inside the water

Her research question stands: How does the composition of multichannel audio installations contribute to raising awareness of underwater noise pollution? What are the impacts on individuals experiencing these immersive sonic environments?

If humans beings are incensed by the cacophony of construction, lawn work and traffic, why would we suspect sea creatures to be any different? 

In her work “The art of listening: under water”, Winderen used sounds recorded in Atlantic Ocean, as well as from the Barents Sea and the Tropical Oceans.

https://janawinderen.bandcamp.com/album/the-blue-beyond

2) Manja Ristić – violinist, sound artist, curator and researcher 

In her opinion the noise pollution is the tip of the iceberg of the Anthropocene. The effect of underwater noise pollution is not only causing long-term damage to marine life, but to humans as well.
“If the frequency pattern of the noise is overlapping with the particular frequency range in which a certain species are communicating, they simply are not capable of finding each other anymore. They become vulnerable, unprotected, and with significantly less chance to breed. If the frequency pattern of the noise is overlapping with the hearing range that enables them to use biosonar, they get lost or disorientated, unable to avoid solid obstacles and follow the group they belong to. The noise is literally blinding them. If the frequency pattern of the noise is overlapping with their inherited “database” of sound-detecting predators they are constantly moving away from the potential danger, prioritising being safe over feeding.”

3) Leah Barclay – sound artist, interdisciplinary researcher (in field of sound, science and technology).

Joined the “Ocean Listening” research project, where she explored creative ways to use underwater sounds to highlight and bring the awareness of ocean health. The project looks at how sound can engage people and increase understanding of the importance of oceans.

References:
1. https://acloserlisten.com/2023/07/21/jana-winderen-the-blue-beyond/
2. https://15questions.net/interview/fifteen-questions-interview-manja-ristic/page-1/
3. https://leahbarclay.com/
4. https://oceans21.org/en/projects/seaphony/

The Eight Mountains (Le Otto Montagne), directed by Felix van Groeningen and Charlotte Vandermeersch, is a wonderful story about friendship, mountain climbing, mystery, and passion, spirituality. It follows two men with different backgrounds who reconnect in the Italian Alps, but there’s more to the story. The movie expresses a lot through simple dialogue, breathtaking views, and great music/sound. It won an award at the 2022 Cannes International Film Festival and was made in collaboration with Italy, Belgium, and France.

From the first scene it’s noticeable that a movie has a slow pace and we can also hear it in Sound Design. The first scene uses silence to set the mood. As characters start a journey in the mountains, you hear calming sounds like footsteps, a distant hammer, and the rustle of wind, creating a feeling of closeness and calmness, with an air of mystery and loneliness. 

The music, influenced by Tibetan culture, supports the atmosphere of the story. The chosen songs and lyrics fits very well to the plot of the story. There is one moment when in the dialogue is said “I am coming home” and this phrase is enhanced in this same scene by the song.

Throughout the film, drone sounds with low rumbles come in, especially in mountain scenes, adding tension and quiet. The drone is used in different ways, like during sunrise when the drone gets pitched higher, helping to keep the quiet moments and a bit of tension.

At the end, there’s no music during the credits, just the sound of birds in the background. This emphasises a focus on quietness, giving a space to reflect on movie and life.

References:
1. https://www.worldliteraturetoday.org/2018/march/eight-mountains-paolo-cognetti
2. https://seventh-row.com/2023/07/13/the-eight-mountains-film-vandermeersch-van-groenigen/
3. https://www.mvtimes.com/2023/09/06/friendship-grows-mountains/

Author: Jacob Junken Larsen and Marc Pilgaard
Supervisor: Martin Kraus
University: Aalborg University in Denmark
Department of Architecture and Media Technology

Level of design:
The thesis provides information about the experiment design used in the study. It mentions that three pilot tests were conducted to optimize an experiment and eliminate design flaws. These trial tests helped them understand how people answered questions and collected data. In the final design, participants wore a virtual reality headset and played a game in a virtual world where they had to find and collect glowing orbs. The goal was to make sure people didn’t feel sick during the simulation, and they also added a system to make the game challenging. The thesis also mentions using surveys to measure how present and engaged people felt. In summary, the thesis shows a careful and step-by-step approach of the experiment, considering potential issues and making improvements based on the trial test

Degree of innovation:
I could not find much information about the innovation in the thesis. The document primarily focuses on the methodology and findings of the study, including the use of questionnaires to measure immersion and presence in virtual environments.

Independence:
The research stands out for its independence, especially with the survey aimed at understanding how spatial audio affects the player’s experience.

Outline and structure:
The author has drawn a good outline. The structure is divided into: Introduction, Previous Work, Objectives, Experimental Design, Data Extraction, Results, Discussion, Conclusion, Future Wok.

Scope of the work:
The main scope of work talks abour how various ways of creating sound affect accuracy on perceiving space and how often unexpected sound events happen. It also checks if our feelings and emotions have any influence on these effects. It looks into how sound is used in video games, and how 3D audio affects different environments.

Degree of Communication:
The thesis communicate clearly the issues when it comes to designing sound for VR experience. It uses clear language and answer the research question, which focuses on investigating the effects of spatial audio on player experience, in terms of immersion and presence

Orthography and accuracy:
The thesis appears to be well-written, when it comes to orthography and accuracy. No issues with spelling or grammatical issues, clear headings and references. 

Literature:
The choice of literature, which consists of 94 positions supports very well the topic of immersive audio in VR and game experience. 

The idea of the composition aims to raise awareness about issues of noise pollution in our oceans. This composition is intended to attract listeners’ attention and highlight the harmful impact of anthropogenic activities on marine life. It should represent balance between the beauty of marine ecosystems and the destructive presence of noise produced by human.

The opening of composition introduces undisturbed marine environment. A combination of soft, gentle melodies with soothing rhythms should bring an image of underwater world where sea creatures communicate through harmonious sounds and songs. Listeners immerse themselves in this soundscape and they become aware of how fragile is life in the ocean. [Time: ~ 1.5/2 min]

The next part of the composition introduces dissonant sounds, symbolizing human interference in the marine environment. The noises are coming from ships engines, seismic surveys and offshore construction disturb a peaceful balance of the underwater ecosystem. The composition builds tension through a series of clashing tones and irregular rhythms. [Time: ~1.5 min]

After introducing a decreased level of noise a brief moment of silence will appear as a reminder of the importance of silence to marine life. That’s a moment where silence reinforces the appreciation of the natural acoustic harmony, which helps marine mammals to survive. [Time: ~0.5 min]

The next part of composition captures the confrontation of marine animals with constant noise pollution. The composition combines melancholic melodies with dissonant themes that should represent destructive sounds. Here we can hear whale songs, dolphin clicks in interaction with anthropogenic sounds. This is a sound awakening a sense of emergency. [Time: ~3 min]

At the end the composition changes again from dissonance to harmony, symbolizing an effort to take an action in the ocean. The disturbing sounds slowly fade away coming back to the natural underwater acoustics. This suppose to inspire listeners to protect marine habitats. [Time: ~1.5/2 min]

By blending contrasting musical elements this composition address the issue of noise pollution in our oceans. It invites everyone to take action and ensure a harmony between human activities and marine life, preserving the seas for future generations. 

Human fascination with whale songs goes back to the 1970s, when a biologist Roger Payne recorded an album of humpback whale songs. This inspired Greenpeace’s “Save the Whales” movement and led to an international ban on deep-see whaling. Many whales make sounds but when we talk about whale songs we’re usually talking about humpback whales. Humpback songs are long, complex patterns of sounds that whales sometimes repeat for days on end.

Whale hearing
Since all mammals underwater are especially sensitive to the sounds in order to be able to survive, whales developed their hearing. Looking at the anatomy of whales the size of whale’s head is up to one third of the total body length. The whale ear is very tiny. The bone structure of the middle and inner ears is modified to accommodate hearing underwater.

The Humpback song
Humpbacks don’t breathe like humans do. A humpback whale actually has to think about breathing. To go to sleep and still breathe, they’ll only shut off half their brain at a time. Originally it was thought the sound is produced through larynx, but research showed that larynx doesn’t move during vocalisations. There are some nasal structures which move when sound is produced. The research shows that only male humpback sing and usually the same song. They produce moans, grunts, blasts and shrieks. Since the sound waves can travel very far in water without losing energy, some of the low frequencies can travel approx up till 16 094 km in some levels of the ocean. The frequency range is 30Hz till around 8 kHz, which means that humans are only able to hear only a part of the whales’ songs.

FIN WHALE
These whales make some of the lowest-frequency sounds of any animal. Males produce songs made up of loud pulses lasting 1–2 seconds, in patterns that can last anywhere from several minutes to days

Sound levels

The frequency of baleen whale sounds ranges from 10 Hz to 31 kHz. A list of typical levels is shown in the table below.

Source	Broadband source level (dB re 1 Pa at 1m)
Fin whale moans	155–186
Blue whale moans	155–188
Gray whale moans	142–185
Bowhead whale tonals, moans and song	128–189

The “notes” are single uninterrupted emissions of sound that last up to a few seconds. These sounds vary in frequency from 20 Hz to upward of 24 kHz (the typical human range of hearing is 20 Hz to 20 kHz). It may be frequency modulated or amplitude modulated. However, the adjustment of bandwidth on a spectrogram representation of the song reveals the essentially pulsed nature of the FM sounds.

References:
1. Ocean Noise – from science to management – Journal of marine science and engineering
2. https://en.wikipedia.org/wiki/List_of_whale_vocalizations
3. https://oceanservice.noaa.gov/facts/whalesounds.html

As a result of the higher density of water compared to mixture of gases in the atmospheric, sound travels four times faster in the sea than in air.  Marine mammals, including whales, dolphins and porpoises, are much more dependent on sound than land mammals due to the limited effectiveness of other senses in water. Some mammals like whales and dolphins highly developed their sense of hearing over millions of years to send and receive variety of complex sounds. They highly rely on sound to communicate with each other, navigate, find food, defend their territories and avoid the predators. Fishes also use sound for basic life functions.

People produce some sounds intentionally, such as military sonar and seismic tests for oil and gas exploration. Other sounds are an unintentional, such as shipping and underwater construction. Many human-produced sounds in the ocean are periodical, whereas shipping creates an almost constant rumble in the ocean. Even the motor of a fishing boat creates extra sound underwater.

All of these sounds add to overall ocean noise and contribute to the “soundscape,” which scientists define as the combined sounds made by humans, natural events, and marine animals. Because sound travels so well underwater, many of these sounds can be heard miles from their sources.

Noise pollution in the ocean can be split into 3 different categories:
– Environmental noise
– Noise of Ocean Life
– Anthropogenic noise

Environmental noise is caused by airbone noise which propagates into the sea, wind and waves, seismic noises (oils and gas).  Many environmental events make non-biological sounds, such as low frequency rumbling of a thunderstorm the cracking of singing ice as ice sheets slide against each other and break apart. Vulcanic eruptions and earthquakes oscillate in a very low frequency band, sometimes only  fractions of Hertz and the sound last longer compared to the most species living underwater. The environmental noises are responsible for noise floor, which its power is higher compared to the noise floor in the air.

Noise of ocean life produces a variety of different signals. Mammals are called ‘the birds of the sea’ and vocalise in a different frequency bands. The song of a blue whale consist mostly of low frequencies. Together with fin whale they produce sweeps at about 20-35 Hz, which results in fin whale sound masking content of the blue whale calls.

Anthropogenic noise Human activity in and around the ocean makes a variety of sounds, such as pinging from echosounders or low-frequency vessel noise from motorized boats and ships. Some anthropogenic sounds can be disruptive or harmful to marine life.

References:
1) https://www.fisheries.noaa.gov/national/science-data/sounds-ocean-environmental-and-anthropogenic
2) https://fast.wistia.net/embed/channel/tvcq9ovg1h?wchannelid=tvcq9ovg1h
3) Ocean Noise, from science to management – Journal of Marine Science and Engineering
4) https://dosits.org/animals/use-of-sound/how-do-marine-animals-use-sound/

A spectrogram of a full day of the Pacific Ocean measured by Monterey Bay Aquarium in California made on the November 1st 2016.

It describes a frequency content of acoustical signals. The frequency range highlighted with a green colour is approx a range of human hearing (20Hz – 20kHz). The recording was extended to outside the range of human hearing, because some of the species in the ocean produce sounds up to 6 times the upper limit of human hearing.  At this same time different geological processes produce sounds below our limit of hearing. 
In spectrogram we can see different sound source:
– the species (dolphins and 3 different types of whales)
– anthropogenic noises (such as: boat transits, the earthquakes and wind)

A very bright colour on the spectrogram (higher level of Sound Energy) is referred to as singing, which is structured rhythmic sequences of sounds made by males of three species of baleen whales (blue, fin and humpback whales).

Spectogram shows a simultaneous song during a period of 35 minutes, frequency response from below 10 to 8 kHz. The composition: humpback whales above 100 Hz, blue whales below 100 Hz and fin whales tucked in between 2 harmonics.

Below an example of the sound of baleen whales:
https://www.youtube.com/watch?v=wht0wPM1nF0&ab_channel=NewportWhales

Larry Foster – a whale artist, developed awareness in colour themes and classic composition in a whale history. He played a key role in differentiating whales from whaling, and educated millions of humans over the years to appreciate the incredible and unique sleek, streamlined, beautiful animals that whales are.

Sources:

• Signal Processing 101 & Soundscapes
  October 12, 2022 at 12pm EDT
  Dr. Kathleen Wage, George Mason University
  Dr. John Ryan, Monterey Bay Aquarium Research Institute
• https://www.montereybayaquarium.org/animals/animal-stories
• Robert J. Urick – Principles of Underwater Sound

In order to build a microphone I used a website as a reference point:
https://felixblume.com/hydrophone/

Recordings of tap water:

Recordings of rain

Conclusions:
The hum occurred during recording, which is the result of bad connection of the piezo wires to the mono cable. I also experienced instability when recording a signal. Therefore, the DIY piezzo underwater microphone will not be used for further exploration.